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Like many trio sonatas, this work consists of four movements: slow - fast - slow - fast. It starts with a three-partite Grave with a slight hint of French ouvertures, though then developing in a different direction. The second movement is a fugue. I am rather fond of a moment where all voices stop and the recorder and violin start the conversation of voices anew, and more lucid than before. The third movement is a through-composed Adagio, followed by a fugal finale in 12/8. This trio sonata is written for alto recorder, violin, cello and harpsichord, but a variety of instruments would fit too, though it leads to interesting changes in the character of the individual movements. I am not sure if the Grave and the Adagio shouldn't be swapped to increase the coherence of the music. Any suggestions welcome.

As implied by its title, this arrangement was based off my Crab Canon (aka. Canon Cancrizans) a 3 in C minor ( • Three-voice Crab Canon in B minor.): Since its initial publication, it has been transported one half step upwards to accomodate for the ranges of the instruments involved in this double trio, with the full realization played by the Continuo harpsichord part (which may be omitted entirely on account of the extremely wide intervals between voices in certain invertible configuartions making it rather difficult to play). Enjoy! YouTube video link:

Here are two dinky renaissance keyboard pieces I wrote for some informal/ goofy competitions on various discord servers....in both cases we were given a theme that we were supposed to use.......Feel free to comment anything at all.

These microtones do contribute to the music. But let me go through my thoughts, so you can get a better sense of why. I like how at 10 seconds in, you demonstrate the microtone by gradually increasing its pitch. 14 seconds in, you really are showing how microtones can affect harmony, at least to my ears. Also, I feel like most of the time I wasn't sure if we were in minor or major. Like I could tell, but there were times where the major portions sounded really ominous 😵‍💫. At 1:13 to to 1:20 you have a series of cadences. I think the first 2 cadences resolve to minor, and the final one resolves to major. But again, it's not that easy to tell. The entire piece reminds me of a dream sequence, and this could be in part due to the echo effect. I feel like I am perhaps in a haunted carnival, with evil clowns chasing me. There are some instances of reprieve, but the entire piece is incredibly haunting. This is more than the thought it just sounds out of tune. I think you are starting to learn how to make use of microtones to contribute to mood. When you suggest they don't seem necessary, I think perhaps this type of composition is starting to become second nature to you. But to the listener, I can assure you, the microtones are seriously warping the mood of this piece, in ways that may not be possible with normal music. I really like this piece as a whole, and maybe my ear training is starting to get used to microtonal music since you started posting these exercises 😅.

A lovely "Castillian" romance ... perfect as a movie score. I can just imagine the opening scene across the plains of Madrid. Mark